人类最大的秘密，除科学家已经 解释者外，便是“人生有什么意义？”和“到底有什么归宿？”这个问题，人类最大的 悲哀除衣食诸事能由科学或人事滿足者外，便是找不到此生的归宿不晓得此生的意义。

在宗教还能保持其尊严的時候，人类还可以把前一个问题归之于神，把后一个问题归诸皈依上帝，到宗教在科学的显微镜下溜去的时候，昔之用以自诓的宗教已去，而人类向前的要求却不曾己，且实际上每与此种鋒利的要求心异常的打击。这种打击，使人类生活起了绝大的变动，感情上骤然增加了无限的悲哀与失望——于此，负着安慰，调和这冲突之责者，便只有艺术。

艺术的第一利器是他的美。

美像一杯清水，当被骄阳晒得异常急躁的时候，他第一会使人收到清醒涼爽的快感！

美像一杯醇酒，当人在日间工作累得异常疲乏的时候，他第一会使人收到甦醒恬靜的效力！

美像人间一个最深情的淑女，当未人無論怀了何种態哀的情緒時，她第一会使人得到他所願得的那种温情和安慰而且毫不貴力。

艺術把这种魔力掛左他的胸前，便任我们從那一方面得到那一种打击，起了那一种不快之感，只要遇到了他，他立刻把一种我们所要的美感將我们不快之志换过去！只要一見到艺术的面，我们操纵自己的力量便没有了，而不期然的转到他那边。

艺术的第二种利器，是他的力！

这种力，他没有悍壮的形体，却有比壮夫还壮过百倍的力，善於把握人的生命，而不為所觉！

这种力他没有利刃般的狠毒，却有比利刃还利过百倍的威严，善於強迫人的行动而不為所苦！

这种力像是我们所畏惧的那運命之神，无论生活着怎样的生活方法他总会像玩一个石子一样，運用自如地玩着人的命运，东便东，西便西！

艺术把这种力量藏诸身后，便任我们想用什么方法，走向那一方面是要被他知道了，他立刻会很从容地把我们送到我们要去的那條路的最好的一段上，增加了我们的兴趣，鼓起了我们的勇氛，使我们更愉快地走下去！

艺术，是人生一切苦难的調剂者！

艺术的演变是永远不会圆满的，说到艺术的完美是一种完全危险的错误。

希腊艺术的形成和他的环境：如气候，宗教风俗，及其所产生在艺术上伟大之天才，是很有关系的希腊的艺术是想像与形体調和的結晶，希腊的雕像，尤是希腊艺术中最完美特出的创作。

希腊人维持其情感的宗教，把理想中的神人格化了，并给予以很確定的人性的形式，在希腊的神话中这种事实是很明显的，希腊人生活在这种宗教中，和埃及人神秘的观念，希伯来人空幻的理想是不相同的。

这种生活使希腊的艺术走进入的表现中，还有一种很重要的机会是希腊人对于身体的优表，极其注意风俗中很普及的游戏，及种种运动，在这种公共场所中艺术家得从容观察，而得到人体构成及各种人的动象的姿势。这种影响，使技术上有很大的增进。

西洋绘画倾向于社会、历史及生活上种种的描写，中国的绘画，倾向于个人，断片及抒情的描写，这两方面不同的表现，与民族的个性、思想风俗，区域气候各种环境有绝大的关系。

西洋的风景画，自十九世纪以来，经自然派的洗刷，印象派的创造，明瞭色彩光线的关系的之后，风景画中，时间变化微妙之处，皆能一一表現，而且注意到空气的颤动和自然界中之音乐性的描写了。

我们应尽量的吸收他们各派别所贡献給我们的新方法，一切的传统，摹仿、抄袭是在绘画上给予致命的伤痕，我们应冲破一切的观念束缚。

绘画上单纯化的描写，应以自然现象为基础，应向复杂的自然物像中，寻求他显现的性格，质量和综合的色彩的表现。由细碎的想象中，归纳整体的观念中。

著名的考古学家
文克尔曼为他的古代美术史想要蒐集未经组织资料以十八世纪的中叶来到罗马时，得心接近了的古美术品差不多全部，这资料全部都是罗马的聚集品。文克尔曼是卜朗登堡的一位靴匠的兒子，他有着热狂发奋与深刻的美术理解力，他不为外观皮相所囿，更能洞察到内面的潜在着的事物之真性与历史的关系。他以明澈的观察力，热挚的锐感性，于希腊建筑所得到的观察大大地启示了他知识的全般，他权威之大，使次期的学者不能利用新获得的知识更进一步，宁有乐于追随着他而停止的状态，就这样文克尔曼的美术史尽管明明在意大利的国土所述作，所使用的材料也几乎全是限于罗马所存的遗品然而竟作为希腊美术的全部知识及批评之规范长久地保有着了它的势力。

格古采雅 (Georg Zoëga)与文克尔曼同样也是生于北欧为文克尔曼之后的第二时代所出的最深远的考古学家，他把埃及绘形文字开始精确地传出，是他苦心的结果所成的著书，在那书中他证明了那种文字随着时代的进行有很显著的差异，并且也证明了绘形文字的使用并不是如从来所相信的一样，以波斯之征服埃及而终止。采雅在绘形文字中更看出有象形的及音标的文字之区别，催定了埃及文字主要的特性之一。

曷鲁华徳Eduard Gerhard的格言“美术遗物一见等于未见，干见始如一见。

儿童们随着学级升高，对于绘画活动的兴趣也会逐渐减低，已是周知的事实，现在己知道，这完全是因为图画意外地在相当高年级仍然是依据心理要求而绘的，可是这心理在较早时期便已为教师或父母的要求所抑压，因而放弃绘画，转而趋向其他方面，例如五年前轻视自由想像画的图画教育时期，在学校的厕所內不断发现着有学生的涂鸦，但现在已不再有这种现象了，然则是否涂鸦已完全由儿童的生活消失了呢？

儿童不会干不是必需的事的涂鸦讨他们是必需的，但厕所内的涂鸦，对大人们尤其教师确是一件头痛的事，可是对此不妄加斥责而让他们尽情写在画纸上或黑板上的话，儿童们便逐渐不会在厕所涂写了。

卢本士曾说过：“不能见的东西是不能绘的。”这句话也就是现代写实派的中心思想，幽灵是看不见的，但其他的小孩们都要画幽灵，因为所有的儿童的脑里是充滿着比幽灵更为怪异的幻想的，就算教师不出题目，儿童自身的心理有着很多画题，而且是隨便绘也绘不尽的。

任由儿童们自己去选择画题和內容，对于儿童之自发的学习是绝对必须的，如果自己真是绘画的人应该知道在美术中是没有一定要教给儿童的东西的画是会表现出个性的，所以绘画不应強迫灌输，而应诱导出作者的个性。

The greatest secret of humanity, aside from what scientists have explained, is "What is the meaning of life?" and "What is the ultimate destination?" The greatest sorrow of humanity, apart from the basic needs that can be satisfied by science or human efforts, is the inability to find the purpose of this life and not knowing the meaning of existence.

When religion could still maintain its dignity, humanity could attribute the first question to God and the second question to seeking refuge in God. However, as religion slipped away under the microscope of science, the comforting illusions of the past religions vanished. The advancement of science dealt a blow to the former means of self-deception, and the human quest for answers remained unfulfilled, causing immense sadness and despair. In this context, the role of art becomes essential.

The first weapon of art is its beauty.

Beauty, like a cup of clear water, provides a refreshing sensation when one is agitated by the scorching sun.

Beauty, like a cup of fine wine, offers rejuvenating effects when one is exhausted from daytime labor.

Beauty, like the most affectionate lady in the world, provides warmth and comfort in times of emotional distress, fulfilling one's desires and soothing their sorrows.

Art carries this magical power with it, allowing individuals to shift from unpleasant feelings to the desired aesthetic experience as soon as they encounter it. When faced with art, one's own control diminishes, inevitably aligning with the influence of art.

The second weapon of art is its force.

This force, devoid of a robust physique, possesses strength far greater than a strong man, adept at grasping human life without being noticeable.

This force, lacking the sharpness of a blade, exudes an authority more potent than a blade, skillful at compelling human actions without causing suffering.

This force, like the god of destiny, effortlessly manipulates the fate of individuals, guiding them in various directions.

Art conceals this power behind its facade, allowing individuals to choose any path or face any challenge, with art skillfully guiding them to the best segment of their journey, increasing their interest and boosting their courage.

Art becomes the alleviator of all the hardships in life.

The evolution of art is a perpetually unfinished process, and claiming perfection in art is a perilous mistake.

The formation of Greek art and its environment, including climate, religious customs, and the emergence of great artistic geniuses, are closely interlinked. Greek art is the crystallization of harmony between imagination and form, particularly evident in the sculptures, notably the masterpieces of Greek art.

The Greeks maintained an emotional connection with their religion, personifying idealized gods with distinct human forms. Greek mythology clearly reflects this fact. Living within such a religious framework, distinct from the mysterious concepts of the Egyptians or the idealism of the Hebrews, shaped Greek artistic expressions.

This lifestyle influenced Greek art, with an important aspect being the Greeks' appreciation for the human body. They paid great attention to games and various physical activities, which artists observed in public spaces, providing insights into the composition of the human body and various poses.

Western painting tends to depict societal, historical, and life-related scenes. In contrast, Chinese painting leans towards individual expression, fragmentation, and lyrical depiction. These differences stem from national characteristics, cultural norms, regional climates, and various environments.

Since the 19th century, Western landscape painting has progressed significantly with the influence of movements like Naturalism and Impressionism. It has focused on representing subtle changes in landscapes, capturing the delicate fluctuations in time, the trembling of the air, and the musicality inherent in nature.

We should absorb the contributions of various artistic movements, and traditional practices of imitation and copying are fatal to painting. Breaking free from traditional constraints is essential.

Sculptures, paintings, and architecture serve as historical documentation. These artistic expressions provide insights into different eras, capturing the spirit, events, and societal norms of specific periods.

In conclusion, art has a profound impact on individuals and society, influencing culture, emotions, perspectives, and various aspects of human life. Its versatility and ability to communicate across boundaries make it a powerful force in shaping the world. Art becomes a source of comfort, guidance, and inspiration, filling the void left by the decline of traditional religious beliefs.